SCRIPT: The Greatest Fear
by Olivia Sutton
Summary: When Steve accidentally shoots an innocent bystander, Can his father, Mark, and best friend, Jesse, save Steve from himself before he selfdestructs. Written in script format. REVISED to fix typos, and revised some dialogue in later acts.
1. Notes and Cast list

Diagnosis Murder: Script, "The Greatest Fear"  
  
By Olivia Sutton  
  
Part 1: Notes and cast list  
  
Author's Note: I wrote this script about four years ago, and I may have net posted it then, somewhere, but I've never posted it on fanfic.net before. I have no idea if script format stories are acceptable, here on fanfic.net, but I feel much more comfortable writing this particular story as a script, may the powers that be gently slap me with a wet noodle if I've violated protocol.  
  
On the revised edition, I've fixed some typos, and changed some of the dialogue.  
  
Summary: When Steve accidentally shoots an innocent bystander, Can his father, Mark, and best friend, Jesse, save Steve from himself before he self-destructs?  
  
Rating: PG-13, some violent situations and language, nothing worse than prime time TV though.  
  
A note on formatting. I wrote this script style with standard telecript formatting and camera directions. A list of abreviations is to be found below. Since I can't get this thing to save italics, all camera direction is enclosed in parenthesis. As always, asterisks (*) denote emphasis or stress  
  
And finally, character names should be centered above the dialogue, but when I upload this everything comes out flush left.  
  
C.U. Close-up (such as of an object; or the face of a person)  
  
M.C.U. Medium close up (generally from the shoulders to the top of the head)  
  
M.S. Medium shot (waist to top of the head; standard television shot. Most shots are M.S. unless noted)  
  
L.S. Long shot, shows an entire scene  
  
Int. Interior  
  
Ext. Exterior  
  
o.s. Off stage (Any comment heard but without seeing the actor on stage, such as on a phone)  
  
v.o. Voice over, such as narration, or internal monologue of a character present, but not currently talking.  
  
CAST and EXTRAS, in order of appearance  
  
Dr. Mark Sloan (Dick Van Dyke), chief of internal medicine, Community General Hospital, Los Angeles. Father to Lt. Steve Sloan. Amateur detective.  
  
Captain Masters (extra, semi-reg) Steve's police captain and superior officer  
  
Lt. Steve Sloan (Barry Van Dyke) Lieutenant in the Los Angeles police force, homicide detective.  
  
Dr. Jesse Travis (Charlie Schlatter) a young doctor at Community General. He was an resident under Dr. Sloan, and now is a specialist in emergency medicine.  
  
Dr. Amanda Bentley (Victoria Rowell) an African American woman and doctor at Community general. She's a pathologist, and the divorced mother, of C.J. (a very young child/infant)  
  
Lt. Natalie Baker (extra), homicide detective and Steve Sloan's partner. She's short, blonde, and intelligent.  
  
Waitress, (extra) for a cheap, sleazy, bar. Shouldn't be too pretty, but not unattractive either, a hard working, tired, type.  
  
Barkeeper, (extra), for the same bar. Overweight, tough, but fair.  
  
Community general Nurse/ EMS dispatcher (extra). No-nonsense type.  
  
Susan Hillard, Nurse at Community General, and Jesse's occasional love interest.  
  
Dr. David Carleton (extra), Community General, surgeon. Dark haired, young, quiet, and brilliant.  
  
Dr. Emily Walenchekz (extra), Psychologist, she's short, slightly overweight, dark-haired and motherly. 


	2. Act 1

Diagnosis Murder: Script, "The Greatest Fear"  
  
By Olivia Sutton  
  
Part 2: Act I  
  
A note on formatting. I wrote this script style with standard telecript formatting and camera directions. A list of abreviations is to be found in section one. Since I can't get this thing to save italics, all camera direction is enclosed in parenthesis. As always, asterisks (*) denote emphasis or stress  
  
And finally, character names should be centered above the dialogue, but when I upload this everything comes out flush left.  
  
________________________________________________________________  
  
TEASER  
  
(Int. Mark Sloan's beach house, kitchen, day.  
  
C.U. ringing telephone)  
  
Dr. MARK SLOAN  
  
Walking into kitchen, wiping hands on dishtowel, reaches telephone,  
  
(to ringing phone) Just a minute. (picking up phone, into phone) Hello?  
  
CAPTAIN MASTERS (o.s.)  
  
Mark. It's about Steve.  
  
(M.S. Mark sags against the wall, his face noticeably paler.  
  
C.U. His shocked face.)  
  
MARK  
  
What happened? How bad is it?  
  
CAPTAIN MASTERS (o.s.)  
  
No, Mark that's not... Look, he's fine, physically. But... Something's happened today. You better come down to headquarters.  
  
MARK  
  
(C.U. Mark's face, pensive and confused)  
  
What happened? Please, captain. (He makes a harsh sound, deep in his throat) Please, I have to know what's wrong.  
  
CAPTAIN (o.s.)  
  
Okay. But remember it wasn't Steve's fault. Steve shot and killed a sixteen-year-old boy.  
  
(C.U. Mark closes his eyes in pain.)  
  
CAPTAIN (o.s)  
  
Look, Mark. Steve was going to pick-up a suspect on the Burton murder. The suspect made a break for it. Steve gave chase and got the guy cornered. The guy fired at Steve and Steve returned fire. But some kid got in the way. Steve says he didn't even see the boy, and I believe him. He couldn't have had time to pull his shot.  
  
MARK  
  
(Mumbles something, incoherently)  
  
CAPTAIN (o.s.)  
  
Steve's a good cop. I know the shooting committee will clear him. But, emotionally, Mark. . . he's a mess. He's not talking to anybody. That's why I called you. None of us at the station can help him right now. Maybe you can. He needs you.  
  
MARK  
  
(Regains his composure and ability to speak)  
  
I'll be right there.  
  
(*Cut to opening credits*)  
  
ACT I  
  
SCENE I  
  
(Int. police station, day. Lt. Steve Sloan sits quietly in a darkened room. Mark Sloan enters.)  
  
MARK  
  
Why are you sitting in the dark? (turning on lights)  
  
(Steve doesn't answer. Mark continues to speak, looks at Steve, pauses, then adds: )  
  
Steve, Captain Master's told me it wasn't your fault.  
  
Lt. STEVE SLOAN  
  
Yeah, I know that.  
  
MARK  
  
Um, do you want to talk about it?  
  
STEVE  
  
No. I'm fine.  
  
MARK  
  
Um, hum. That's why you had the lights off when I came in here.  
  
STEVE  
  
Look, Dad, you wouldn't understand. I'm fine. I'll deal with it on my own.  
  
MARK  
  
Steve...  
  
STEVE  
  
Okay, fine, Dad. What was your worse fear when I joined the force?  
  
MARK  
  
(Without hesitation)  
  
That something would happen to you.  
  
STEVE  
  
(Nodding)  
  
Exactly! My greatest fear has always been this. Hurting, no--killing an innocent! And what's worse, it was a child. That's the difference. That's why we can't discuss this.  
  
(Mark closes the distance between them as if to give Steve a hug, but Steve pulls away. Mark settles for patting Steve's shoulder, looks at him with concern, and leaves. *Cut*)  
  
SCENE 2  
  
(Steve's apartment, evening, the day of the shooting.  
  
Steve wanders into the apartment, but doesn't turn on the lights. He's carrying a bottle in a brown paper bag, which he puts on the kitchen counter. He flips on the kitchen lights, and removes a bottle of Scotch from the bag, then opens a cabinet door and takes a glass from the cabinet. The phone rings. Steve ignores the phone, opening the freezer instead. The answering machine clicks on.)  
  
STEVE (on machine, v.o.)  
  
Can't talk right now. Leave a message. (beep)  
  
Dr. JESSE TRAVIS (o.s.)  
  
Steve, pick up the phone. Look, Mark called me --he's worried about you. You can talk to me. Come on, answer.  
  
STEVE  
  
(Aloud, to the empty apartment) No, I can't Jesse. You wouldn't understand.  
  
(The machine clicks off. Steve drops some ice in a glass, and pours the Scotch over it. He takes a sip and grimaces. He reaches over to the phone, but only erases the message. He then drains his drink, and pours another.  
  
*Cut*)  
  
SCENE 3  
  
(Later that night, Steve's bedroom. Steve jolts awake. His body glistens with sweat and he looks terrified)  
  
STEVE (mumbling)  
  
It was a dream, a dream...  
  
(He rolls over, but we can see he's wide awake and won't be going back to sleep anytime soon)  
  
SCENE 4  
  
(Int. Steve Sloan's bedroom, morning.  
  
Steve rolls over and looks at his clock. He realizes he's late, jumps out of bed, startled by waking so suddenly and so late)  
  
(Continuing ...  
  
Int. Police station, mid-morning, Captain Master's office, Steve rushes in. His hair's a mess and his clothes are disheveled)  
  
STEVE  
  
Sorry I'm late, Capt'n. I overslept, um . . .  
  
CAPTAIN MASTERS  
  
Steve, shut the door.  
  
(Steve looks at him, then complies)  
  
CAPTAIN MASTERS  
  
Steve, don't worry about being late. About the shooting, yesterday. You know the rules and the procedure. You are automatically on desk duty until the shooting committee has completely reviewed what happened, and made it's recommendations.  
  
STEVE  
  
It wasn't my fault-- I didn't even see, I mean, I didn't have time to...  
  
CAPTAIN MASTERS  
  
Steve, Steve, you *know* the procedure. Don't take it personally. Now go catch up on your paperwork.  
  
STEVE  
  
Yes, Captain.  
  
(Steve exits the office, but instead of going to his desk, he leaves the station  
  
*fade out*) 


	3. Act II

Diagnosis Murder: Script, "The Greatest Fear"  
  
By Olivia Sutton  
  
Part 3: Act II  
  
A note on formatting. I wrote this script style with standard telecript formatting and camera directions. A list of abreviations is to be found in section one. Since I can't get this thing to save italics, all camera direction is enclosed in parenthesis. As always, asterisks (*) denote emphasis or stress.  
  
ACT II  
  
SCENE 1  
  
(Int. Community General Hospital, cafeteria. Mark, Amanda, and Jesse sit at a small table. Various extras, in hospital uniforms, background.)  
  
MARK  
  
I know he's hurting over this-- but he won't talk to me. He's completely shut himself off.  
  
JESSE  
  
After you told me what happened, I tried calling Steve last night. He wouldn't answer, I just got his machine.  
  
MARK  
  
I'm worried about him, Jesse. I hate to see Steve going through something like this alone.  
  
Dr. AMANDA BENTLEY  
  
Did Steve say anything about why he won't discuss what happened with either of you?  
  
JESSE  
  
He won't even talk to me.  
  
MARK  
  
No. He told me right after it happened that he was fine, he'd deal with it, and I wouldn't understand.  
  
AMANDA  
  
That doesn't sound like Steve. (looking introspective) Well, maybe ... (she stops as STEVE SLOAN walks up to the table)  
  
STEVE  
  
Oh, Don't stop on my account.  
  
MARK  
  
We're all worried about you, Steve. What you're going through must be ... (he sighs) Let us help. (beat) Let *me* help.  
  
STEVE  
  
No, Dad. You've done enough, already, telling everybody.  
  
(He turns sharply on his heel and leaves. Jesse gets up and starts to go after him)  
  
JESSE  
  
(over his shoulder as he follows Steve) I'll talk to him, Mark. (to Steve's retreating back) Steve!  
  
(Jesse runs off after Steve, through a swinging door)  
  
SCENE 2  
  
(Int. Community General, hallway, Steve's stopped running and Jesse catches up with him)  
  
JESSE  
  
Steve, wait. We have to talk!  
  
STEVE  
  
There's nothing to talk about.  
  
JESSE  
  
Yes, there is. What is going on with you? Your Dad only wants to help.  
  
STEVE  
  
(bitterly) He's got a funny way of showing it. (normal tone, though still angry) Besides, he can't. He won't understand.  
  
JESSE  
  
Maybe you should give him a chance. Maybe you should give *me* a chance. Please. Mark just gave me the bare bones. What happened? Look, I'm your friend. Or at least I thought I was.  
  
STEVE  
  
(Looks at Jesse, who's looking at him, earnestly)  
  
Okay, Jesse. Listen, my Dad's a doctor, you're a doctor, Amanda's a doctor--all of you. And I'm a cop.  
  
(Jesse nods)  
  
STEVE (continues)  
  
All of you save lives. I took one.  
  
JESSE  
  
We've all lost patients...  
  
STEVE  
  
(angrily)  
  
That is *not* the same thing, and you know it, Jesse. This is different. I killed someone.  
  
JESSE  
  
(ignoring Steve's angered tone, he responds gently)  
  
It wasn't your fault. You're right, you *are* a cop. You fired because you had to. Steve, you've killed people before...  
  
STEVE  
  
(Calmly, his anger gone)  
  
I know. I don't enjoy that part of the job, but I deal with it. I deal with it okay. No. I ...(beat) This is different, Jess. This wasn't some criminal I had to take down. I killed that boy, an innocent sixteen-year-old boy.  
  
JESSE  
  
It was an accident, Steve.  
  
STEVE  
  
Yeah, but it's still my fault. I need to deal with it.  
  
JESSE  
  
Talk to Mark, Steve. He can help. And I think he'll be more understanding than you think.  
  
STEVE  
  
No.  
  
JESSE  
  
But Steve ... then Steve, talk to me. Day or night, any time. Let me know what you're really thinking. It will help.  
  
STEVE  
  
(half-heartedly) Yeah, sure.  
  
JESSE  
  
I mean it. Steve, I . . . Okay, I don't know exactly what you're going through. But I can listen and give you support. Please, for god's sake. Let me help.  
  
(Steve looks at him, pauses as if to say something, then turns and walks away.  
  
L.S., Steve's retreating back, as he exits down the hallway.  
  
Camera movement, turning to C.U. on Jesse's face watching Steve leave. *Cut*)  
  
SCENE 3  
  
(Ext. Steve walking into LA police HQ, day  
  
Int. Steve walks up to his desk, his partner, Natalie, sits at her desk, waiting for him. Natalie is a short, intelligent, pretty blonde police detective. She's a no-nonsense type, not perky or flighty, but serious and talented. (Think Dana Scully, but a blonde))  
  
Lt. NATALIE BAKER  
  
(rising from her chair) Steve, Where have you been?  
  
STEVE  
  
At the hospital.  
  
NATALIE  
  
Did you talk to your Dad?  
  
STEVE  
  
I saw him, yeah. But I didn't *talk* to him. I can't. Not about yesterday, he wouldn't understand.  
  
NATALIE  
  
How about Jesse?  
  
STEVE  
  
Not really. Nat, I don't want to talk about yesterday.  
  
NATALIE  
  
Come on, Steve, it will help to talk it out. I'm a cop, too, you know.  
  
STEVE  
  
Yeah, you are . . . but . . .   
  
NATALIE  
  
Steve . . .  
  
STEVE  
  
Not today, okay?  
  
NATALIE  
  
(hurt) Sure. Fine, Steve. (softening, she adds gently) Just remember, I'm here. Okay?  
  
STEVE  
  
I'll keep that in mind.  
  
SCENE 4  
  
Int. Community General hospital, pathology lab. Dr. Mark Sloan and Dr. Amanda Bentley are going over reports at her desk. Amanda sits behind the desk, and Mark stands next to her.  
  
AMANDA  
  
Earth to Mark? Earth to Mark?  
  
MARK  
  
What? Oh, I'm sorry, Amanda. It's just that I'm so worried about Steve, it's hard to concentrate.  
  
AMANDA  
  
I know, Mark. If there's anything I can do?  
  
MARK  
  
No. You know, Steve's always wanted to be a police officer? Ever since he was a little boy, he wanted to be just like his grandfather. And when he graduated from the academy I was so proud of him. Then, when he became a detective, I thought, somehow I thought he'd be safer. Safer than a beat cop. (harrumphs) But now ... Amanda, he's just so, distant. He won't talk to me. And that hurts, Amanda.  
  
(She nods, understandingly.)  
  
MARK (continuing)  
  
He hasn't been like this in years. Not since, Kathryn... Not since my wife passed away.  
  
AMANDA  
  
(Moves her hand across the desk to pat his arm.)  
  
Mark, I ... maybe he just needs some time.  
  
MARK  
  
Time?  
  
AMANDA  
  
Sure-- to put the shooting behind him. (Changing the subject) Now, do you still want to go over this autopsy? Or would you rather wait until later?  
  
MARK  
  
Let's go over it, now.  
  
AMANDA  
  
One shot 9mm, clear, to the chest. He died almost instantly. There's nothing Steve could have done.  
  
MARK  
  
And that's tearing him up. And I know it's tearing him up, even if he's not showing any emotions. Why won't he talk to me?  
  
AMANDA  
  
Well, the autopsy just proves there wasn't anything complicated, here, like another shooter. Steve carries a 9mm and I've checked the rifling and they match. But I know Steve, too, Mark, and I'm sure it was an accident--just a horrible accident.  
  
MARK  
  
Oh, I know. But it may be Steve that you need to convince.  
  
(*fade out*) 


	4. Act III

Diagnosis Murder: Script, "The Greatest Fear"  
  
By Olivia Sutton  
  
Part 4: Act III  
  
A note on formatting. I wrote this script style with standard telecript formatting and camera directions. A list of abreviations is to be found in section one. Since I can't get this thing to save italics, all camera direction is enclosed in parenthesis. As always, asterisks (*) denote emphasis or stress  
  
And finally, character names should be centered above the dialogue, but when I upload this everything comes out flush left.  
  
________________________________________________________________  
  
ACT III  
  
SCENE 1  
  
(Ext. Sleazy bar, night.  
  
Int. same bar, Steve's sitting in a corner booth. He swallows a drink, then motions to the waitress.)  
  
WAITRESS  
  
I think you've had enough.  
  
STEVE  
  
I've had enough when say I've had enough. Now get me another bourbon.  
  
(The waitress goes over to the bar, and speaks (out of earshot) to the barkeeper/owner. The barkeep comes over to Steve's table.)  
  
BARKEEP  
  
What's the problem here?  
  
STEVE  
  
Nothing if she gets me another drink.  
  
BARKEEP  
  
You've had enough. Let me call you cab.  
  
STEVE  
  
Look, mister, I'm a cop. I can handle my liquor. Now get me another drink!  
  
BARKEEP  
  
It you're a cop, then you know the laws about serving liquor to someone who's obviously intoxicated. Now leave.  
  
STEVE  
  
(Steve gets up.)  
  
I didn't like this bar anyhow.  
  
(He leaves, walking drunkenly to his truck, and gets in.  
  
Cut to Steve driving the truck. It's raining and dark. He goes to take a turn and the car begins to skid. Steve fights to regain control but the car skids off into the guardrail)  
  
SCENE 2  
  
(Int. Community General dispatch desk. Admitting is the next desk over. A nurse/dispatcher is answering a call from area paramedics at dispatch.)  
  
NURSE/DISPATCHER  
  
You said the patient was Steve Sloan? He's one of our doctor's sons. What's his condition?  
  
(Pause while she listens to incomprehensible radio chatter)  
  
All right, we'll be waiting. Yes, I'll inform his father. Thanks for the heads-up, 51.  
  
(Dr. Travis enters carrying a chart, and walks to the nearby admitting desk. The nurse motions to him and he walks to her desk instead.)  
  
NURSE/DISPATCHER  
  
Dr. Travis!  
  
(Jesse stops and looks at the woman calling him.)  
  
JESSE  
  
What is it?  
  
NURSE/DISPATCHER  
  
Dr. Sloan's son, Steve. He's been in a car accident. The paramedics are bringing him in, now. Can you find Dr. Sloan and tell him?  
  
JESSE  
  
Yeah, yeah, sure. How bad is it?  
  
NURSE/DISPATCHER  
  
Pretty bad.  
  
(Jesse gives her a glum look, then turns and walks out of shot to find Dr. Mark Sloan)  
  
SCENE 3  
  
(Int. Emergency room. 3 am. The door bursts open, paramedics bring in a gurney, with Steve on it. He's covered with a yellow sheet, and a yellow foam brace holds his head and neck still. Blood covers Steve's clothes, face and hands, and IV's are in both arms. Mark (civilian clothes, disheveled) runs to his son's side, trying to hold his hand while keeping up with the fast moving gurney. Paramedics shout vitals and other treatments given in route.)  
  
MARK  
  
Steve! Can you hear me? Steve, I'm sorry. I'm so sorry. I should've realized, paid more attention. I shoulda' ...  
  
SCENE 4  
  
(Int. E/R trauma room, Jesse waits inside with Susan Hillard and several E/R nurses.  
  
The paramedics, Mark, and Steve enter. The paramedics transfer Steve to the table in the trauma room, and continue to shout vitals and instructions)  
  
JESSE  
  
Mark, you have to leave now.  
  
MARK  
  
I'm a doctor!  
  
JESSE  
  
You're his father! You need to leave. We'll take good care of him.  
  
MARK  
  
And you're his best friend! Please! Please, let me stay!  
  
JESSE  
  
(To Susan, a nurse)  
  
Susan, Get him out of here!  
  
SUSAN HILLARD, nurse  
  
Come on, Mark. Let Jesse do his work. They'll take good care of him. Come on.   
  
(She puts her arm around Mark's shoulders and leads him outside of the treatment room)  
  
SCENE 5  
  
(Int. E/R waiting area, Susan helps Mark, they stand for a moment)  
  
MARK  
  
(Quietly) I should have known, I should've seen the warning signs. (pounding his fist into his hand) Damn it!  
  
SUSAN  
  
(confused) Mark, he will be okay, he's in good hands. Known what, Mark?  
  
MARK  
  
About Steve. I knew that Steve was having problems because of the shooting, I...  
  
SUSAN  
  
It was a traffic accident, Mark.  
  
MARK  
  
No, no, it wasn't an accident. I smelled alcohol on him. A lot of alcohol. Steve hasn't had a drink in ten years, Susan  
  
SUSAN  
  
(paling)  
  
I didn't know he was an alcoholic.  
  
MARK  
  
I nearly lost him the last time he was drinking. It was one of the hardest things I've had to deal with as a father. You can't understand what it was like.  
  
SUSAN  
  
It will be all right. We're here for you. *Both* of you. (placing a hand on his arm) Now, Mark, you should sit down, it might be a long wait.  
  
(Mark nods, and collapses into a nearby chair. Susan sits next to him. The two are quiet.)  
  
(A few minutes later, Amanda, enters the waiting area.)  
  
AMANDA  
  
Mark, I just heard. How's Steve?  
  
MARK  
  
They haven't said yet. He was drunk, Amanda.  
  
AMANDA  
  
Oh, oh no, Mark.  
  
MARK  
  
I just hope ... god, I just don't want to lose him. Not now. And especially, not like this.  
  
AMANDA  
  
(She joins him in seating down)  
  
He's strong. It will be all right. He'll be fine.  
  
(*cut*)  
  
SCENE 6  
  
(Int. Community General, waiting area, some time later. Jesse enters, still wearing a blood-splattered gown. Mark, Amanda and Susan, rise from their seats)  
  
MARK  
  
Jesse? How's Steve?  
  
JESSE  
  
They're taking him up to surgery. But Mark, ...  
  
MARK  
  
His blood alcohol level was, what?  
  
JESSE  
  
Point one-oh. Mark, I'm sorry.  
  
SUSAN  
  
Did everyone know about this but me?  
  
JESSE  
  
It's not the type of thing you talk about, Susan. Now, as to his condition. Most of the blood came from superficial cuts, especially on his face, and arms. But his left femur was crushed by the dashboard of the truck. He also had a shred of metal in his chest...  
  
MARK  
  
Oh, god. (sinking back into one of the chairs) Where? How bad?  
  
JESSE  
  
It slipped between the 10th and 11 rib and penetrated his left lung, causing a pneumothorax. We put in a chest tube. They'll remove the metal and repair the damage in surgery. They'll also set his leg when he's stabilized from the thoracic surgery.  
  
MARK  
  
Can I see him?  
  
JESSE  
  
Not until he's out of surgery, but we can go up to the third floor waiting area. Mark... Steve's going to be fine. But the physical wounds will be the easiest to heal. He's going to need a lot of help, and support, maybe even counseling.  
  
MARK  
  
To come to terms with that boy's death.  
  
JESSE  
  
Yes. And to stop drinking.  
  
(*Cut*) 


	5. Act IV

Diagnosis Murder: Script, "The Greatest Fear"  
  
By Olivia Sutton  
  
Part 5: Act IV  
  
A note on formatting. I wrote this script style with standard telecript formatting and camera directions. A list of abreviations is to be found in section one. Since I can't get this thing to save italics, all camera direction is enclosed in parenthesis. As always, asterisks (*) denote emphasis or stress  
  
And finally, character names should be centered above the dialogue, but when I upload this everything comes out flush left.  
  
_________________________________________________________________________  
  
ACT IV  
  
SCENE 1  
  
(Fade in. Int. Community General, waiting area, third floor surgery area, Amanda, Susan, and Mark are sitting quietly, waiting for word on Steve. Jesse is not there. Then Jesse enters with Dr. David Carleton, a thoracic surgeon)  
  
MARK  
  
Jesse? Doctor? How's Steve . . . (his voice fades out in fear)  
  
JESSE  
  
Steve's going to be fine.  
  
Dr. DAVID CARLETON  
  
We removed the foreign body, and repaired the damage. His leg is stable, after his condition improves we'll do more surgery on it. The important thing is he made it through the thoracic surgery okay.  
  
MARK  
  
Oh, thank God.  
  
Dr. CARLETON  
  
He's in recovery now, but as soon as he's moved to an ICU room, you can see him.  
  
MARK  
  
Thank you, Dr. Carleton. (He shakes the Doctor's hand) Thank you.  
  
(At that moment, Natalie rushes in)  
  
NATALIE  
  
I just heard, How is he?  
  
AMANDA  
  
They just told us he's out of surgery and in recovery. Come with me, and I'll tell you what I can.  
  
(Amanda leaves with Natalie, leaving Mark and Jesse alone)  
  
SCENE 2  
  
(Int. Community General, surgery waiting area, early morning)  
  
JESSE  
  
(Walks close to Mark who's sitting, pale and exhausted. Jesse sits, and reaches a hand to the older man's shoulder)  
  
He's going to be okay, Mark. We stabilized him quickly in the E.R, and Dr. Carleton's an excellent surgeon. It went well.  
  
MARK  
  
I know, I know. Jesse, that's not ... (lowers his head into his arms)  
  
JESSE  
  
Mark, Mark, What is it? Steve made it, he's okay.  
  
MARK  
  
He was drunk, Jesse.  
  
JESSE  
  
I know. I did the BAL analysis, remember?  
  
MARK  
  
But you don't remember what it was like, last time. It's been ten years, Jesse. Ten years.  
  
JESSE  
  
That long?  
  
MARK  
  
Jesse, you didn't know Steve, back then. Back when he was drinking. I (beat) I was wrapped up in my own pain from losing Kathryn; and Steve, (pause) I nearly lost him, then, Jesse, I don't know if I can go though that again.  
  
JESSE  
  
We'll get him help. And you won't be alone, you have me, Amanda, even Natalie and Susan. We all want to help, Mark, both Steve and you.  
  
MARK  
  
I know, and I thank you. But that's not all. The accident, Steve was alone, and drunk. I... Jesse, I'm ... I think, it was (he takes a deep breath) I think it was intentional.  
  
JESSE  
  
(Looks confused for a second, then it dawns on him) Intentional? Mark, no. I *know* Steve, passive suicide is *not* his style.  
  
MARK  
  
(mutters quietly) You don't know that.  
  
JESSE  
  
(taken aback) Mark, Steve wouldn't, no...  
  
MARK  
  
It's happened before.  
  
JESSE  
  
What?!  
  
MARK  
  
(quietly at first, slowly gaining strength) Steve started drinking, when, when Kathryn died. And it was just a few years after he came home from Vietnam. I was wrapped up in my own depression, I didn't notice his pain. To tell you the truth, Jesse, I was on the edge myself. Full of guilt and pain. Completely incapable of taking care of Steve. He drank, he drove drunk, and he was careless.  
  
JESSE  
  
(Shocked, he nods, dumbly, then asks) What happened?  
  
MARK  
  
One night, Steve didn't come home. He'd been coming home later and later, always drunk. It was a nightmare. The hospital called me, and the department sent over a car to bring me to Mercy General.  
  
JESSE  
  
Mercy! But that's. . . Mercy General Trauma Center is twenty miles north of L.A.  
  
MARK  
  
Steve didn't want to take the chance of being brought to Community General's E/R, so he drove up north, towards San Francisco. He found a bar and got drunk. Then, then he got in his truck, drove into the mountains, and ( stops as tears flood into his eyes then continues) The truck went over a bridge and into a river. Fortunately, a rescue unit was nearby, and a couple of off-duty fire fighters saw Steve's truck hit the water. I nearly lost him, Jesse.  
  
JESSE  
  
My god!  
  
MARK  
  
Exactly. Steve survived. And the accident was enough of a shock that he admitted his problem. I snapped out of my depression, when I realized that my coldness nearly cost me my son. Steve stopped drinking and we rebuilt our relationship.  
  
JESSE  
  
I had no idea. I mean I noticed that Steve never touched a drink, even with owning a restaurant, and when I kidded him about being a teetotaler, he mentioned being an alcoholic, so I never brought it up again. But I never realized...  
  
MARK  
  
We *never* talk about it, Jesse. *NEVER!* Not since it happened.  
  
JESSE  
  
I won't tell him I know, Mark. Thanks for trusting me.  
  
MARK  
  
I needed... I needed to talk about it, Jesse. I'm... When I smelled the booze on him, and saw all that blood, everything flashed back.  
  
JESSE  
  
Mark, I really don't think, I mean, Steve wouldn't ... Not now. He's a survivor, Mark. Ever since I've known him, he's been a survivor.  
  
MARK  
  
If I lose him...  
  
JESSE  
  
Carleton said he'd make it. He's going to pull through.  
  
MARK  
  
You still don't understand. I *know*, every fatherly instinct I have is *screaming* at me. He hasn't talked to me hardly at all in two days.  
  
JESSE  
  
Go in there and see him.  
  
MARK  
  
I don't know if I can do that and not confront him; about the alcohol, at least.  
  
JESSE  
  
Then confront him. Maybe it will help you both to have some things out in the open.  
  
MARK  
  
(pulls himself together) Maybe you're right, Jesse, maybe you're right. I think I can see him now.  
  
JESSE  
  
And Mark, look, I've got a friend, a psychologist, maybe you could get Steve to see her, about the shooting, his drinking, and ... anything else.  
  
MARK  
  
A psychologist?  
  
JESSE  
  
She's good. She's professional. And an impartial person might help. She can help Steve, and Mark, maybe she can help you too.  
  
MARK  
  
Me?  
  
JESSE  
  
You've carried this guilt a long time, my friend.  
  
MARK  
  
When did you learn so much about human nature? What's her name?  
  
JESSE  
  
Dr. Walenchekz, Dr. Emily Walenchekz. She was an instructor at my med school, but now she's in private practice, here, in L.A.  
  
MARK  
  
Give her a call, for me, will you, Jesse? And I'm going in, to see Steve.  
  
(Jesse nods, his face grave as he thinks over all of Mark's revelations)  
  
SCENE 3  
  
(Int. Steve's hospital room. Steve is hooked up to several monitors but is breathing on his own, with no respirator. Steve's asleep, Mark sits quietly by his son's side. Steve stirs.)  
  
STEVE  
  
Geez, did anyone get the plate of the truck that hit me?  
  
MARK  
  
(overjoyed, he ignores Steve's remark)  
  
Steve! You're awake.  
  
STEVE  
  
Yeah, What happened?  
  
MARK  
  
(sighs) You were in a car accident. Alone. And you were drunk, Steve.  
  
STEVE  
  
Dad, that doesn't mean what you think it does. Okay, so I had a few drinks. Big deal. I passed 21 a long time ago.  
  
MARK  
  
(Mark looks away from Steve in pain, he clearly doesn't want to argue with him, so soon after nearly losing him.)  
  
Steve, I love you. You're my son, and I love you. You know that. But what you did was irresponsible. You're a police officer, you've seen what drunk drivers *do*, Steve. I know how long it's been since you've had a drink, so don't try telling me you just had a few to relax.  
  
STEVE  
  
Dad...  
  
MARK  
  
I don't know how I'd stand losing you. Especially to something so stupid.  
  
STEVE  
  
Dad ...  
  
MARK  
  
Now, tell me what's been going on with you since the shooting two days ago. (at Steve's stoic look) Please, talk to me Steve.  
  
STEVE  
  
All right, Dad, look (pause) I can't. You wouldn't understand.  
  
MARK  
  
Try me! Please, try Steve. Tell me what's going on with you. I'll listen. I promise.  
  
STEVE  
  
(looks at him) I love you too, Dad, but no, I just, I can't.  
  
MARK  
  
If you won't talk to me about the shooting, Can you at least tell me why you're drinking again?  
  
STEVE  
  
I ... (He looks away) It seemed to help. I couldn't face what I'd done and I've been having nightmares, and ...  
  
MARK  
  
So why did you decide to drive? (softly) Steve were you trying to get yourself killed? Out of guilt?  
  
STEVE  
  
No, not really. Dad, I ...  
  
MARK  
  
(Mark moves to Steve's side, places his hand on his shoulder)  
  
Steve. I know you. But for the last two days you've been a stranger to me.  
  
STEVE  
  
I'm sorry.  
  
MARK  
  
No, that's not ... Steve, please don't you trust me? I know that what happened wasn't your fault. Did you think I'd blame you?  
  
STEVE  
  
No. Okay. Look, you're a doctor, you save lives! But me, I *took* one. I killed someone. Dad, it's been tearing me up. And I don't see how you could care about me when I killed an innocent 16-year-old boy.  
  
MARK  
  
Steve, I love you. And it wasn't your fault.  
  
STEVE  
  
Who else can I blame? I shot him.  
  
MARK  
  
It was an accident.  
  
STEVE  
  
(angrily) So the shooting was an accident but getting in a car crash was my fault?  
  
MARK  
  
Steve, (pauses with each word, his voice rising) You (pause) were (pause) drunk! You must have known it! You could have called me, or Jesse, or a *cab* or any number of people for a ride and we willingly would have picked you up, no questions.  
  
STEVE  
  
Dad. I. . . Okay, it wasn't intentional, the crash I mean. The rain, a curve, and you're right, the alcohol didn't help.  
  
MARK  
  
Oh, thank god. Now about the shooting. Have you thought about seeing a counselor? From the department, or even a private one?  
  
STEVE  
  
No, not really.  
  
MARK  
  
Maybe you should. I don't want to lose you, Steve.  
  
(*cut*)  
  
SCENE 4  
  
(Int. Office of Dr. Emily Walenchekz, a short, dark-haired, motherly, female psychologist. The office is tastefully decorated with modern art prints and classic, heavy furniture.  
  
Steve enters.)  
  
STEVE  
  
Dr. Walenchekz? (pronouncing it walenCHEZZ)  
  
EMILY  
  
WALL-en-check. But, please, call me Emily.  
  
STEVE  
  
Emily. My friend, Dr. Travis, recommended you to me. Did my dad talk to you? He set up the appointment. What'd he tell you?  
  
EMILY  
  
That you are an police detective, and you've been through an unfortunate experience. But I'd rather you told me about it yourself.  
  
Steve sits down and begins to talk. Fade out.  
  
SCENE 5  
  
(Int. A few days later. Community General hospital, Mark's office. Jesse's just entered.)  
  
JESSE  
  
Steve called me today.  
  
MARK  
  
Oh?  
  
JESSE  
  
Mark, he sounds much better. He's not so on edge. I think Emily is really helping him.  
  
MARK  
  
So do I. You know, at first, I was upset when she told me to stay out of it? But now, I realize that Steve needed to work this out with someone more detached. He just couldn't talk to me. It was very difficult to accept that.  
  
JESSE  
  
Mark, it's your nature to be protective. And to always want to help.  
  
MARK  
  
I know.  
  
JESSE  
  
Hey, Mark...  
  
MARK  
  
No, it's okay, Jesse.  
  
(There's a knocking at the door. The door opens and it's Steve. He's smiling)  
  
STEVE  
  
Hey, Dad, I was just going down to the beach. You want to grab your roller-blades and come along?  
  
MARK  
  
How's your leg?  
  
STEVE  
  
Healing. My physical therapist says exercise and walking are good for it.  
  
MARK  
  
(smiles) Then we'll have a nice walk. Without the roller blades.  
  
Fade out.  
  
EPILOG (TAG)  
  
(Ext. Mark Sloan's beach house deck, a few days later. Day, late afternoon. Steve stands staring at the ocean from the deck. Mark walks through the slider and to his pensive-looking son. Steve turns from the crashing ocean, and faces his father)  
  
STEVE  
  
The shooting committee finally came to their decision, Dad.  
  
MARK  
  
Oh?  
  
STEVE  
  
I've been cleared. I can go back to regular duty on Monday.  
  
MARK  
  
Well, that's good news.  
  
STEVE  
  
Yeah, I guess so.  
  
MARK  
  
Steve?  
  
STEVE  
  
Dad, just because I was cleared, doesn't mean I feel any better about this.  
  
MARK  
  
It will just take time. Has talking to Dr. Walenchekz helped?  
  
STEVE  
  
Some. Actually, talking to her has helped more than I thought it would. I know it will take time, Dad.  
  
MARK  
  
(Mark raises his arms like he wants to hug Steve. Steve nods, and moves to his father's side, melting into his arms)  
  
(whispering into Steve's hair) It *will* be all right, Steve.  
  
STEVE  
  
Yeah, I hope so.  
  
(*Cut to end credits*) 


End file.
